CRITICAL ZONE: Youngsters and Music

CRITICAL ZONE: Youngsters and Music
Fecha de publicación: 
26 March 2021
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Some people tend to associate young musicians especially with trendy genres, urban music, for example, ignoring the great contributions they make to other less crowded (let's speak openly without prejudice and without sounding like a complaint) genres. Some are unaware of what they’ve done, how many good and remarkable young musicians do in trova music, or in contemporary Cuban jazz. Or even in concert music. There are people who have not reached their thirties and who already have a significant work in these and other expressions of music.

Those artists are there. And certainly, they have spaces for professional development and promotion. The Hermanos Saíz Association has done a lot in this regard, other institutions too. And also the always -questioned media. Just taking a quick glance at the shows run on television and you can notice that there’s more than one program dedicated to the music of young people, either more popular music or more alternative styles.

And yet there are always complaints, there are unsatisfied demands. And it’s natural that there are, because the socialization of everything that is fine will never be enough. The gist is not so much in the quality of the proposals (even assuming that the qualities are dissimilar) as in the whims of consumption (using a term that some don’t find appropriate).

There’s an audience for everything. For better and for worse. The essential task will then be to contribute to the formation of this public. Be careful not to impose a taste (which is impossible), but to educate that taste. And of course, we say it very easy, but it’s a scary task.

It has to do, beyond the necessary artistic education at all levels of education, with the understanding of certain market logic. And the impact that good artists, institutions, and organizations that represent them can have in that market. That’s it, we think, the very core of the matter.

It’s not enough to have good music, you have to know how to place it. And for that, you have to connect much more with interests, with routines, with needs, with the public's consumption patterns. And all this, we assumed, avoiding making concessions that the market itself seems to favor. As you can see: it’s a huge challenge. Another, as if they were scarce.

Translated By: Amilkal Labañino Valdés / Cubasí Translation Staff

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